La Fille du RÈgiment at the Met

When the Met presented La Fille du RÈgiment for Lily Pons during World War II, she sought permission to wave the Cross of Lorraine, symbol of Charles de Gaulleís Free French, during the Salut ‡ la France in Act II.

Minnesota Opera makes strong case for Rusalkaís greatness

Why does one so seldom encounter Dvo?·kís Rusalka on stage?

Satyagraha at the MET

Satyagraha is an odd duck to encounter if you are seeking a traditional opera-going experience or anything like it.

Sarasota rises above the regional

Victor DeRenzi is a man of convictions ó and of courage. Given his commitment to tradition, you might call DeRenzi, artistic director of Sarasota Opera since 1982, conservative.

A Cut Too FarÖ..the new Giulio Cesare in Lausanne

With what might (if one were risking facetiousness) be termed a ìfalse-setî of four countertenors in the cast, this was always going to be an intriguing production of Handelís Giulio Cesare for aficionados of a voice type which has revolutionised the perception (and popularity) of baroque opera over the past 15 years.

The Minotaur ó Royal Opera, Covent Garden

Harrison Birtwistle’s new full-scale opera, commissioned by the Royal Opera House, Covent Garden, is a study of isolation and imprisonment.

OONY Performs Puccini’s Edgar

It was one of Quelerís good nights.

Berlinís ìotherî opera often stellar

It is, you might say, the little opera that can. True, if itís size of the budget, the price of tickets and the number of seats that concerns you, the Komische Oper is clearly the third of Berlinís opera houses.

(Mostly) Pretty Poison

What to make of “Lucrezia Borgia”? I have always felt that, some lovely arias notwithstanding, this Donizetti work never really gets going until the slam-bang soprano-baritone duet in Act II.

Prokofiev’s The Gambler at the MET

That Fed Dostoevsky ñ sure plays a mean pinball!